Urei 1176 Vst Plugin
Compression is an integral part of getting a drum to sit well in a mix… it can make your mix, or it can destroy your mix completely.
Luckily for us, compression VST plugins can be relatively cheap nowadays. Smasher is a custom modification of the classic hardware Urei 1176 compressor module. The UREI 1176 is characterised by a big, clear and open sound, yet it will also happily contribute a degree of bite and grit when pushed hard. Long ago, engineers discovered an aggressive, yet musically pleasing style of compression achieved by selecting all four ratios simultaneously. If the VLA-FET sounds good and delivers on this promise, it could become a serious competitor to plug-ins like the Slate Digital FG-116, IK Multimedia Black 76, Arturia’s new UREI 1176, or Softube FET, to name just a few. Compatibility and price. The Black Rooster Audio VLA-FET is available for Windows (VST, AAX, 32/64 bit) and macOS (VST, AU.
And for this reason, many engineers are understandably fussy about the kind of compressors they wish to use.
And since this is a rather subjective matter, we’ve taken the time to research the most recommended and best compressors for drums to get you on the right track with your mixing … (no pun intended).
Quick answer: FabFilter’s Pro-C is the top choice for many in our research and experience.
Slate Digital Virtual Buss Compressors is also another favorite that many professionals stand by.
If you’re on a budget, Waves Audio Renaissance Compressor is the cheapest in this list, even at the original price (and a steal when it’s on sale)
Let’s take a closer look 🙂
Table of Contents
- Drum Compressor Plugin Buying Guide
Find more great guides here:
Drum Compressor Plug-In Buying Guide
Compressor Basics
A compressor is a hardware device or a software-emulated circuit that compresses the dynamic range of an audio signal.
By flattening out the peaks and boosting the low levels, compressors result in a smoother and more consistent signal.
When it comes to drums, compressors may also be used to a more punchy sound, and to make the individual elements of a drum kit stand out better in a mix.
You can read more about how a compressor works in our previous article, which goes into more juicy details.
Features to Look for in a Drum Compressor Plug-in
Good attack control is absolutely essential for drum compression.
This is obvious, as drums are one of the most transient heavy instruments out there.
While you may be able to do without user-adjustable attack or release controls for other applications, drum processing relies on these controls to let the initial transients pop out.
Another useful feature is a ‘knee’ control, which determines how abruptly the compressor circuitry clamps down on the signal. With a an adjustable knee control, you will be able to set your drums to cut through a mix with clarity and precision, or make it lay back into a mix if you wish.
Read more about how to use a compressor (and EQ) with drums to get good results.
Choosing The Best Drum Compressor
When choosing a compressor plug-in for drum processing, vibe and attitude are almost always the top priorities.
Save the transparent compressor for your vocal or piano tracks. With drums, you want a compressor that can punch and squash with the best of them, with coloration or pleasing harmonic distortion generally considered welcome bonuses.
With that said, let’s take a look at a few good options.
Best Compressors For Drums (Software Plugins VST/AU/AAX)
FabFilter Pro-C
As of this article, theFabFilter Pro-C 2is the latest version of the compressor plug-in that comes with the much-celebrated FabFilter suite. It’s quite innovative and forward-looking as the other plugins in the collection, and has a impressive amount of features and functionalities, with on of the best user interfaces out there.
Included in the features are eight different compression modes to intelligent auto-gain and auto-release, variable knee to external side-chain triggering, and quite a bit more. Let’s take a look…
Specs and useful features
- Eight compression styles, which of which are new to version 2: vocal, mastering, bus, punch and pumping
- Range setting for limiting the maximum gain change
- Animated level knee display
- Accurate peak/loudness metering
- Mix setting scales gain change from 0% to 200%
- Side-chain EQ with customizable HP and LP filters
User impressions
For users weaned on hardware compressors and vintage emulations in plug-in form, FabFilter’s Pro-C 2’s user interface could seem a bit intimidating. Although slick and ergonomically-designed (clearly designed with the modern laptop producer in mind), the ultra-modern look does seem to cause a fair bit of confusion among traditional users.
That being said, those familiar with the FabFilter line definitely appreciate the availability of so many features, and how easily they can be tweaked to do their bidding. It also helps that a detailed info box pops up when you mouse over the controls. This feature can be turned off after you have familiarized yourself with the various features of the plug-in.
Some feel that the real-time graphs are too large and too distracting. However, there is no denying that they are essential for helping new users learn the intricacies of the Pro-C.
Bottom-line
FabFilter Pro-C 2 boasts of an ultra-modern user interface that is about as far as you could get from the vintage emulations that dominate compressor market. If there is anything negative that could be said about the Pro-C, it is that it is easy to mess up your drum tracks if you aren’t careful. However, this could just as easily be a testament to the awesome power and immense tone-shaping capability of this supremely versatile plug-in.
Demonstration
Slate Digital Virtual Buss Compressors (VBC)
The Slate Digital Virtual Buss Compressors (VBC) is a set of plug-ins designed to emulate the characteristics of three vintage compressor circuits: the SSL 4000 G-Series Buss Compressor, the Focusrite Red 3 Compressor/Limiter, and the Fairchild 670.
All the idiosyncrasies of these legendary devices have been recreated in the VBC suite, giving you the rich, warm, and punchy tones that you have heard on classic recordings over the years.
Specs and useful features
- Three compressors modeled after classic hardware units: the SSL 4000 G-Series Buss Compressor, the
- Focusrite Red 3 Compressor/Limiter, and the Fairchild 670
- Accurate reproduction of saturation characteristics of the original hardware
- All compressors can be combined in the FG-Rack
- Mix and side-chain high-pass filter knobs
User impressions
Users with a taste for the decidedly vintage have nothing but praise for the Slate Digital Virtual Buss Compressors. One user reported relegating his prized Neve 33609 to the closet after less than a minute of tinkering with the RED module!
For many users, the plug-ins impart an almost magical quality that goes beyond anything that could be explained via technical processes. Citing their ability to focus kick drums and make them tighter, some users feel that the VBC trio brings out subtle qualities that cannot be achieved via EQ, distortion, compression, or any combination thereof. One particularly ecstatic reviewer in fact claimed that simply adding the FG-Rack to the chain enhanced the sound perceptively.
Bottom-line
The VBC suite isn’t the most expensive option in this roundup, especially when you consider that you actually get three plug-ins for the money. But they are definitely classy. For the money, you get a pretty impressive array of compressors that could give your bland drums tracks a new lease on life.
Demonstration
Waves Audio Renaissance Compressor
The Waves Audio Renaissance Compressor is a now-classic compressor plugin that is still capable of producing great sounding tracks.
Many consider it highly effective at making drums stand out and be more present in the mix. It pumps and heaves with the best of them, yet eases back into near transparency if necessary.
A standard tool for drum compression tasks, the Renaissance Compressor is also an effective sound sweetener for guitar, bass, and even vocals.
Specs and useful features
- Vintage Opto and modern Electro modes
- Internal brickwall limiting
- Auto Release Control (ARC) for higher RMS levels
- Double precision bit resolution processing
- Up to 24-bit/192kHz resolution
User impressions
As one of the venerated classics of the Waves selection, the Renaissance Compressor has had its share of fans and detractors over the years. Remarkably enough for a plug-in of its age, the latter seem to be in the minority, as the Renaissance still finds its way to numerous tracks to this day.
Many users especially appreciate the Renaissance Compressor’s ability to squash drums and bass tracks in a very musical way. Transparent it may not be, but the special sauce that it slathers all over anything it touches makes for a pretty heady sonic brew.
Some users do feel that the user interface of the Renaissance is in dire need of an update. Nevertheless, those that are more concerned with sound than visual aesthetics generally agree that this is one versatile and reliable compressor that still punches well above its weight years after it was released.
Bottom-line
As the cheapest plug-in in this lineup, the Renaissance Compressor is even more of a no-brainer than the Waves API 2500. You probably won’t want this to be the only compressor plug-in in your arsenal, especially if you are doing more than processing just drum tracks. Nevertheless, there will undoubtedly be times when you have an itch for that distinctive “compression/sustainer”-type squish, and the Renaissance will be the only one that soothes it.
Demonstration
Waves Audio SSL G-Master Buss Compressor
The Waves SSL G-Channel is a combination compressor-EQ-filter plug-in that draws inspiration from the legendary SSL 4000 mixing console channel strip. It was modeled under license from Solid State Logic (a company that’s been dominating the pro audio world with their consoles since the 1970s), so you should expect it to deliver the same dynamic response and versatile tonal shaping qualities of the original hardware circuit.
With features such as pre-boost dip, pre-cut rise, and broad Q, the SSL G is a great buss compressor that can work wonders on any drum track.
Specs and useful features
- Modeled after the SSL G Series console strip
- Developed under license from Solid State Logic
- Ideally suited for adding punch to drums
- Distinctive EQ and dynamics
- G-Equalizer enhances any sound source
User impressions
It’s hard to find anyone that doesn’t like the Waves Audio SSL G-Master Buss Compressor. One of the rare negative comments have to do with the tendency of the sound to get “clicky” on percussive transients, but this is by no means a common consensus. For most users, the Waves SSL G is a quick way to add some polish to drum and bass tracks.
Some users have managed to bring out its more aggressive character on snare drum tracks, although it is generally used for more subtle applications. With its ability to enhance the midrange, the plug-in could get equal action as a drum, bass, electric guitar, and even piano compressor.
Bottom-line
The Waves Audio SSL G is a pretty reasonably-priced offering that works especially well for adding gritty midrange to most any audio material. Although you would probably want to augment it with other more transparent compressors, the unique character and reasonable approximation of the classic SSL channel strip makes it a worthy addition to your set of studio tools.
Demonstration
Softube FET Compressor
This plugin has gotten quite a bit of mentions in some of our other plugin guides, which is a testament to how good it is. The Softube FET Compressor, which is modeled after the iconic Urei 1176, is a versatile plug-in that can add loads of rich and natural distortion to anything you pumped through it.
The aggressive sounds seem to be its stock in trade, although it’s capable of easing back a touch when needed. Once you hear the characterful and explosive sound it imparts to drum tracks however, you will probably want to keep pushing it to the extreme.
Features such as Parallel Inject, sidechain filtering, and ultrafast attack settings make this an essential plug-in for drum compression duties.
Specs and useful features
- Modeled after the Urei/Universal Audio 1176
- Great sounding input and output stage distortion
- Extremely fast attack time
- Look-ahead mode for even faster attack time
- “All buttons in” mode
- Continuous ratio (can be set to fixed ratio)
- Parallel compression
- Detector low and high cut filters
- External side chain
- Stereo with synchronized gain reduction
User impressions
Many users that have experience with both the Urei 1176 and the Softube FET Compressor feel that the plug-in measures up quite well to its hardware counterpart. Glenn Rosenstein, a producer and engineer that has worked with Madonna and U2 among others said that the FET Compressor “just sounds right.”
Another avowed Urei 1176 user, Koen Heldens (Beyoncé, Missy Elliott, Timbaland) feels that the plug-in in “in a league of its own”.
For still other users, the FET Compressor sounds just as analog as the hardware unit that it is designed to emulate.
Bottom-line
The Softube FET Compressor isn’t exactly cheap, but it’s undoubtedly a formidable sonic tool that can stand proudly even among the most revered hardware compressors of old. Equally effective on the drum buss as it is on drum room mics and overheads, it has a way of making even the tamest drum tracks big, loud, and explosive. And with its Parallel Inject control and sidechain filter, it is a lot more versatile than any compressor plug-in typically used for drum processing duties.
Demonstration
Boz Digital Labs +10db Compressor
The Boz Digital Labs +10db Compressor is modeled after yet another iconic piece: the ADR F760X Compex compressor-limiter-expander. It aims at replicating the sound of dozens of classic tracks through the decades, so you’ll find that it oozes with vibe and character, making massive, stomping behemoths out of even the most anemic-sounding drum kits.
If you’re wondering just what kind of sonic magic the +10db can impart to your drum tracks, think of the bodacious, in-your-face quality of John Bonham’s drum sound, and you’d be halfway there.
Specs and useful features
- Modeled after the ADR F760X Compex compressor-limiter-expander
- Created in collaboration with producer/mixer David Bendeth
- New features added
- Same iconic sound as the original
User impressions
“Big”, “open”, and “punchy” are only some of the most favorable adjectives used when describing the sound produced by the +10db Compressor. Longtime users of the F760X Compex (after which the plug-in is modeled) are especially taken with how the software version is able to accurately reproduce the sound and dynamic response of the original.
Other users feel that the enhancements that Boz Digital Labs has added make the plug-in even more versatile than the original. For these users, the ability to perform parallel compression right within the plug-in is essential for New York-style compression on drum tracks.
Bottom-line
The Boz Digital Labs +10db Compressor is a very capable mid-priced compressor plug-in that can easily handle most compression tasks. Remarkably similar to the F760X Compex in tone and attitude, it is especially effective as an expander and gate for drums. Take a look at a few other options if you must, but don’t be surprised if you find yourself yearning for the distinctive flavor of the +10db!
Waves Audio API 2500
Three compression modes, three variable filter types, and an array of useful controls. That’s what you’d be getting in the Waves Audio API 2500. It’s versatile, but it’s surprisingly easy to use. You can get the rich analog character to shine through even at more moderate settings. And it’s versatile enough, like mentioned before, to be used on the master buss and as an insert for a whole plethora of instrument tracks.
Specs and useful features
- Modeled after the API 2500 stereo compressor
- Developed in association with API
- Switchable 3-position Thrust high-pass filter
- 3 variable link filter types
- 3 compression modes: soft, medium and hard knee
- 6 release settings: 5 fixed, 1 continuous
User impressions
The API 2500 has been around for a number of years now, and has its share of fans. Although most people use it as a buss compressor for gluing individual tracks together into a cohesive whole, there are those that swear by it for adding the finishing touch to drum tracks.
Fans of the API 2500 especially like the simple and straightforward interface and the general efficiency of the plug-in. When used for processing individual drum parts, it has the amazing ability to really make transients pop out with its fast attack.
Bottom-line
For what the Waves Audio API 2500 is going for these days, it is almost criminal not to have it in your studio toolbox. A great mix compressors that also works magic on drum tracks, this is one plug-in that truly shows off the best qualities of the hardware device that it is emulating.
Demonstration
Final thoughts – Which to Get?
With so many fine compressors all gathered in one place, it is quite hard to pick one that qualifies as “the best.”
Even so, the FabFilter Pro-C 2 simply has that combination of modern features, functionality, and great sound that make it a winner all around.
Of course, we would be remiss in not mentioning the other plugins in the lineup, all of which are excellent in their own right. The Slate Digital Virtual Buss Compressors are especially deserving of mention, if only for their ability to replicate the sound and response of vintage compressor circuitry so well.
The same goes for the Waves Audio API 2500, the Waves Audio SSL G-Master Buss Compressor, the +10db, and especially the Softube FET Compressor, all of which we would be proud to have in our ever-expanding plug-in collection.
We would even have to give props to the Waves Audio Renaissance Compressor, which still sounds great despite its age and somewhat lackluster graphics.
The bottom-line is that you can’t go too far wrong with any of these plug-ins. Choose your price point and take your pick, and get ready to inject new life into your drum tracks.
Even though a relatively simple instrument, the bass certainly has a major part to play in the feel and vibe of your mix.
That’s why many engineers and producers like a dedicated compressor that will translate the groove and punch of a bassline in a mix well…
… so in this guide, we’ll take a look at a few choises, and see which of them is the best compressor plugin for bass.
Quick answer: Softube Tube-Tech CL-1B Compressor is the top choice among engineers. The punch and clarity that it imparts is simply magic to the ears…
Otherwise, Waves Audio C4 offers great value for the money…
While Waves Audio Bass Rider is the cheapest bass dedicated compressor plugin to get.
Let’s take a closer look 🙂
Table of Contents
- Bass Compressor Plugin Buying Guide
Find more great guides here:
Bass Compressor Buying Guide
What is a Compressor?
A compressor is a hardware or software device that applies compresses to the dynamic range of an audio signal.
They do this by reducing the higher volume sections of the audio and increasing the low volume section. The process is typically done automatically via threshold, ratio, and makeup gain controls.
To understand more about how a compressor works, take a look at our post on audio compressors.
Features to Look for in a Bass Compressor
The most important features of a compressor are their controls.
Compressors typically come with threshold and ratio controls. With these you can set the level where the compression begins to take effect, and the rate at which the compressor ceases to affect the signal.
These controls are pretty much essential for most compression applications, particularly for bass, where control over the punchiness of the sound is crucial.
Control over the attack is also an important feature for bass compressors. In most cases, you will want a small portion of the initial transient to pass through unscathed, in order to provide definition to your bass part. Without an attack control, you pretty much have to make do with how much of the initial transient the compressor circuit allows through.
Ideally, you will also want control over the release parameter. This has a considerable effect over how the individual note fades out, which is crucial for tempo-sensitive musical applications. By being able to control the rate at which the note fades out, you will be better able to shape your bass track in a more rhythmically logical manner.
You can read more about how to properly use a compressor with bass.
Choosing a Compressor Plugin for Bass
Besides knowing what controls you need in a compressor, there’s another good thing to take into consideration when choosing a good bass compressor: sound.
Although transparency is often a desirable quality to have in a compressor, this isn’t necessarily the most essential characteristic in a bass compressor.
In rock or hip-hop music, bass and other tracks are often processed quite aggressively in order to give them sufficient ‘vibe’ and ‘attitude.’
For these purposes, you might be better served by a compressor that imparts a bit of coloration or harmonic distortion to the sound.
With that said let’s take at a few bass compressors for mixing.
Best Compressor Plugin for Bass – VST, AU, and AAX
Softube Tube-Tech CL-1B Compressor
Among compressor plug-ins, the Softube Tube-Tech CL-1B Compressor stands in a class all its own.
It’s modeled after the legendary hardware compressor of the same name, the software version does a great job of making bass tracks–or most any other program material for that matter–stand out in the mix. And it does at the fraction of the cost of the original opto hardware model.
It’s warm, punchy, and solid, the sound that the CL-1B imparts is made even better by the addition of features such as sidechain low-cut filters and parallel blend control.
Specs and useful features
- Upgraded version of popular CL-1B plug-in
- Improved sound via Softube’s latest signal processing technology
- New features such as sidechain low-cut filters and parallel blend control
- High-resolution graphics
- Bundled with legacy CL-1B for backward compatibility
User impressions
The CL-1B seems to appeal to users that appreciate warm, natural compression as opposed to ultra-squashed sonic treatment. Although it does offer plenty of squishiness when pushed to the extremes, most users favor the warm and transparent quality that it imparts on bass, drums, and vocal tracks. The CL-1B is especially effective at preserving the punch and clarity of bass tracks, even as it adds its own distinctive character.
Pretty much a compressor plug-in that can handle most any task, the CL-1B nevertheless garnered some criticism for its small GUI, the odd behavior of the controls when adjusted via the mouse wheel, and the absence of dry/wet and bypass controls.
Bottom-line
The Softube Tube-Tech CL-1B Compressor is one of those plug-ins that just seem to sound great no matter how you set them. Especially effective at bass, it can also easily handle pretty much any compression-related task in the studio.
Of course, versatility and great sound come at a premium, and the CL-1B has a price tag to match. Nevertheless, if you are intent on getting an almost-perfect replication of the hardware Tube-Tech CL-1B compressor, the CL-1B is the best way to get it.
Demonstration
Waves Audio C4
The Waves Audio C4 is a fully-featured multiband dynamics processor that, based on a lot of users, works amazingly well on bass tracks, and could easily handle 90% of other compression needs.
It has control over four parametric bands, along with the ability to expand up and expand down, limit, and compress each of them.
The plug-in also comes with both dynamic and standard EQs, so you’d have the ability to do some precision sculpting with your bass sound.
Specs and useful features
- Multiband compressor plug-in
- Control over four parametric bands
- Precise sculpting of frequency and dynamic response
- Control over different frequencies of the sound
- Dynamic mix shaping via frequency-based compression and expansion
- ARC auto release control
User impressions
Waves Audio C4 is another compressor plug-in that can handle most any duty in a studio setting. Most users apply it quite liberally to bass and drum tracks, although many have used it to great effect on the master buss as well. For devoted users of the C4, its ability to retain punch and bottom end are among its biggest strengths. The plug-in is especially favored for its ability to make a bass track sit better in a master mix without affecting any other track.
Any complaints? Sure. A common one is about the noise that it can introduce in certain settings. However, this is often dealt with by careful adjustment of the four parametric bands.
Bottom-line
The Waves Audio C4 is quite a capable unit that can do more than compress bass tracks. While some plug-ins might be simpler to use for bass and low end instruments, there is no denying the benefits that it can impart to any production.
Urei 1176 Vst Plugins
Demonstration
Waves Audio Bass Rider
Sub destroyer vst free. Simplicity is key to the appeal of the Waves Bass Rider, which manages to preserve the original character of bass like no other compressor plug-in can.
With its ability to rides bass levels automatically, the Bass Rider is perfectly suited for those times when you just need your bass to poke out more, but you don’t want to kill its dynamics with a compressor.
Specs and useful features
- Automatic level riding
- Optimized for bass
- Retains the bass’ natural character
- Dedicated studio and live components
User impressions
The Bass Rider seems to appeal mainly to “set-and-forget” users, but even those with more fully-featured compressors can’t help but be swayed by its undeniable simplicity and great sound. The plug-in is especially favored by users that want to have their bass be more present in a mix without necessarily affecting its natural dynamic range.
Of course, some users do wish that they had more control over the character of the sound, but using the Bass Rider in conjunction with another compressor plug-in usually does the trick.
Bottom-line
Urei 1176 For Sale
The Bass Rider is a fairly limited plug-in that surprisingly works well for a varied array of applications. If you have a frequent need to have your bass more forward in the mix but you don’t necessarily want a compressor, the Bass Rider might be all the help you’re looking for.
Demonstration
Waves Audio CLA-3A
The Waves Audio CLA-3A has quite a formidable heritage, being based on the classic Teletronix LA-2A compressor from the 1970s. Like its predecessor, the CLA-3A promises to deliver the kind of character and subtle harmonic distortion that you’d expect from the vintage unit. Despite that, it can also be as transparent as you need it to be, which is good.
With its fast response and sidechain frequency filter, the CLA-3A could be just the perfect sonic sauce to spice up the bass tracks in your mix.
Specs and useful features
- Based on the classic Teletronix LA-2A solid-state hardware compressor
- Compressor and limiter modes
- Ideally suited to bass and electric guitar
- Sidechain frequency filter
- Zero latency
User impressions
A few words seem to sum up the user experiences of the Waves Audio CLA-3A: “simple”, “punchy”, and “in-your-face”. It seems to be an especially popular plug-in among bottom-end merchants, used to great effect in treating bass and even booming 808 kick drums. Many users in fact use it on drums as well as bass, citing its ability to beef up tracks without a lot of fuss and bother.
One thing that many users make note of is the inability to fine tune attack and release times. Although this might be an issue for some, the CLA-3A just sounds so good that most users don’t seem to mind.
Bottom-line
Like the Teletronix LA-2A that inspired its design, the Waves Audio CLA-3A is a transparent-yet-punchy compressor that sounds good on most everything, especially bass and drums. If you want a reasonably-priced compressor that can make most any track push its way to the front of a mix, the CLA-3A could be just the thing.
Demonstration
Waves Audio CLA-76
The legendary UREI 1176 serves as the inspiration for the Waves Audio CLA-76, which offers the distinctive limiting characteristics of its noted predecessor in a convenient plug-in form.
The attack can be set as short as 50 microseconds, providing all the punch you need to make your bass tracks stand out.
The Waves Audio CLA-76 also comes with a unique “ALL” control that lets you replicate the explosive character of the UREI 1176 with all its ratio buttons pushed in.
Specs and useful features
Urei 1176ln
- Based on the UREI 1176 Class-A line level limiting amplifier from the 1960s
- Extremely fast attack
- Exclusive ALL control
- Zero latency
- Pre-amp distortion modeling
User impressions
The CLA -76 seems to attract users that appreciate the warmth and punchiness that analog tape effortlessly imparts to recordings. More than a few have mentioned the startling similarity between tracks processed by the CLA -76 and tracks flown in from 2-inch tape, citing the smooth and dynamic frequency response.
Interestingly enough, some users also appreciate the aggressive quality that the CLA -76 can impart. A versatile plug-in that can get as aggressive as you need–and yet that can be quite transparent as well–the CLA -76 seems to appeal to a wide variety of users.
Bottom-line
Fast attack and a colorful character…these are what the Waves Audio CLA-76 provides in spades. If you are able to catch it on sale, don’t even think: just go and grab it! If you are into vintage character and aggressive rock-style push and presence in your bass, the CLA -76 is a must-have.
Final thoughts – Which to Get?
Urei 1176 Schematic
For mixing applications, the best compressor plugin for bass in this lineup would have to be Softube Tube-Tech CL-1B Compressor. The punch and clarity that it imparts is simply magic to the ears, and it can provide enough squish for any but the most determined audio mangler or dancefloor groove merchant. The price might be enough to give some people reason to consider other options, but if warmth and punchiness are your sonic goals, this one definitely delivers in buckets.
Urei 1176 Vst Plugin Free
That being said, the Waves Audio CLA-76 and the Waves Audio CLA-3A pose seriously stiff competition to the CL 1B. Modeled after two legendary pieces of hardware, the CLA-3A and the CLA -76 both provide enough character and attitude for even the most discriminating users. For much less cash than the CL-1B alone, you could easily afford to pick up both plug-ins and have all your compression needs covered.
Apart from the Softube CL 1B, which really does belong in its own price range, every other plug-in here provides exceptional value. But special mention must be made of the Waves Audio C4 which does way more than your average compressor plug-in. A multiband processor that wouldn’t be out of place in your master buss, the C4 wins out over all the rest as far as value is concerned.